ViFor generations born in the 1970–80s, either in Japan or Philippines, it is no wonder that the music one encountered in childhood was, for example, Metallica. Without the Internet, regardless of its geographical origin, music travelled across the water to be interpreted and distilled. It might be important that that was not “reinterpretation” but “interpretation,” which is the result of a kind of minor geopolitics — the new work is a genuine praise for the roar of the “metal” music and a resistance to the expectation for reinterpretation, deconstruction and their by-product, i.e., exoticism.